Interview by Lisa Nightingale
Next month, Steve McHugh will be talking at the Hampshire Writers’s Society. We wanted to find out a little more about his writing process…
Q. When you first began writing were you aware that you were writing a particular genre and what that genre was?
I’ve always been someone who liked to write stories, and judging from my interests, I knew that I’d be writing in the fantasy or sci-fi genres. When I was 25, when my eldest daughter was born, I decided to get serious about writing and from there I started to work on what turned into an urban fantasy story.
That was when I knew I wanted to work in the genre before moving on to a different one, and I wrote Crimes Against Magic.
Q. Was Hellequinn your first foray into mixing our own up-to-date world with that of fantasy?
Hellequin was the second. The first was never good enough to be published, but it gave me the ideas that would eventually become Hellequin.
Q. Were you then able to find out the ‘dos’ and ‘don’t’ of that genre, for example, a limit on description or a taboo on a setting or type and style of character and what about dialogue, is the genre picky about dialect? For a long time, I was put off high fantasy as I was under the impression that it was way too olde English for a contemporary reader like me.
The good thing about urban fantasy is that it’s such a broad genre, you can really make it your own by adding or removing things you need. The most important restrictions are the ones you set yourself during your world-building. So long as you are consistent with the world you want to create, even if you’re using the real world as a backdrop, there aren’t many dos and don’t.
I’d say don’t let your book go too long, certainly not epic fantasy size, and try to make sure that whatever you do is more character based and not just about the fantastical world around them, but that’s probably the same for all genres.
With the setting, you need to have at least part of the book in the real world, but it doesn’t all need to be here, and I’ve not had any problems with dialect or lengthy descriptions, but then I don’t describe everything in detail anyway, so maybe that’s just me.
Q. Did you find sticking within the genre’s guidelines restrictive at all? Can you give me any tips for appeasing my mind-set to deal with such restrictions?
I find my restrictions quite easy to deal with. You really just need to decide on what you want your story to be. You want an urban fantasy with lots of romance? Go nuts. Or the same, but with a sci-fi edge? That’s okay too. There’s no hard and fast rule. You just need to ensure that whatever you decide is adhered to. You can’t add new fantastical elements that go against what you’ve already stated was part of your world building.
Q. Or, did you do your own thing, in which case, please tell me how you got passed the publisher’s requirement and their somewhat strict gatekeepers.
I self-published my first book, so I didn’t have a lot of gatekeepers to keep happy, but my publisher contacted me after about a year and asked if I’d like to work with them. Since then, I’ve had no issues with making sure I write a book they’re happy with.
So long as you write the book you want to write, you can always worry about what publishers and agents want after. You’ll need to be mindful of what is and isn’t being published currently, but getting the story down first is more important.
Q. How long, in your eyes (and I suppose the genre’s) does a novel of this genre have to be? Agents ask for the first three chapters or 10 to 50 pages, perhaps we should take this as a clue to the length of a chapter.
My books range from 110k in Crimes, to 146k in Scorched Shadows. Each chapter is between 10-15 pages long, on average. For me, that’s perfect as I think people like to be able to read a chapter or two and not feel like they have to put in a long time to do so.
Anything over probably 160k is too long, and anything under 80k is probably too short. If you aim for that 100k spot, and you go either side by a few, you’ll be fine.